Ash Ra Tempel / Ashra (& related) ~ Germany

Schwingungen (1972)

Here is the last of the classic Ash Ra Tempel albums that I hadn't added to UMR prior. 

---2/9/01 

Schwingungen, Ash Ra Tempel's second effort, is a vastly underrated album even by ardent fans of the band. Perhaps it's due to the absence of Klaus Schulze? The controversy here surrounds John L., Ash Ra Tempel's one and only vocalizer (singer just isn't an appropriate term here). He is, to say the least, the Krautrock movement's supreme example of a paranoid schizophrenic. For those who are familiar with the LSD ramblings of Dawn on Brainticket's Cottonwood Hill, then John L. is her male equivalent. 'Darkness: Flowers Must Die' just about says it all. And boy does John L. say it all! While a steady rhythm section chugs along (not near the intensity Schulze brought on the debut however) - there are sax bursts, fuzz guitar flashes, tribal drums, and other phased sounds and noises creating a very edgy atmosphere. Through the chaos, John L. is screaming and anguishing (through electronic effects) about the decay of cities and the Earth. Flowers must die, flowers must die", "Die, die, die, die ,die..." and all hell breaks loose. Here, Manuel Göttsching pulls off the most angry and concise guitar solo of his career, and at the end, if the listener is not left in a heap in the middle of the floor - well, they're just not getting involved! In keeping with Ash Ra Tempel's wild side/mellow side theme introduced on the first album, the flip 19 minute composition is an exercise in choral, tranquil electronic beauty - recalling Pink Floyd's Saucerful Of Secrets at their most cosmic and trippy. An album that should leave one emotionally exhausted if paying careful attention.

---12/31/23

All these years later, and I still get a charge out of this album. The album itself perfectly represents a time and place (early 70s Germany). And my personal history created another time and place experience with the album (this would be the later 1980s for me). Timeless.

Ownership: 

1972 Ohr (LP). Gatefold. Acquired in 1988. 

2004 Arcangelo (CD). Papersleeve edition as part of the Ash Ra Tempel promo box set. Acquired in 2004.

1//88; 1992; 2/9/01 (review); 2004; 12/31/23 (update)

Join Inn (1973)

---8/21/99

On Ash Ra Tempel's third album Join Inn we're introduced to Manuel Göttsching's longtime lovely girlfriend Rosi Mueller (who previously only had cameos on Schwingungen and Seven Up). And we get to hear the pleasure of Klaus Schulze back in the drumkit saddle. On this album he provides less drums and more keyboards than on the debut. 'Freak N' Roll' opens the album in typical heavy fashion. Schulze's trademark machine gun drumming technique comes to the fore very early this time - and one would almost expect them to outdo the phenomenal 'Amboss' from the first album. But they climaxed a bit too early and had to settle for Göttsching's unique guitar rambling combined with the Enke/Schulze energetic rhythm section to make it until the finish. 'Jenseits', however, is Ash Ra Tempel's crowning spatial moment. Here, Schulze shows his brilliance with electronics, laying down a tranced out locust-at-night sound while Hartmut Enke defines what a bass guitar can do for space music. Göttsching's guitar just shimmers and flows. But the highlight on this song for me is Rosi's seductive yet fragile and innocent voice whispering on top. I have absolutely no idea what she's going on about, which adds to the exoticism and mystery for non-German speakers.

---11/30/23

Like with Sandrose and East of Eden's Mercator Projected, I'm not sure I'm going to get more peak moments out of Join Inn. Even though it's been 12 years since my last listen, it's as if I knew every note when hearing it last night. I've played this album a ton over the years. That being said, it also maintains its 5 star rating. One of my all-time favorites.

Ownership: 

1973 Ohr (LP). Acquired in 1999.

1973 PDU (LP). This version has Klaus Schulze's name in the marquee. Acquired in 1987.

2010 Belle Antique / MG.ART (CD). Papersleeve. Acquired in 2011.

1987; 8/21/99 (review); 2/2/01; 12/9/11; 11/30/23 (update)

John L. and Adamah - Lonesome in Overdrive (1996)

---Dec 2004

A magnificent album that hardly anyone knows about, and it features an original iconic Krautrock freak!

About a couple of times a year, something will arrive that re-lights my collecting fire. Not long ago, it was Del Jones Positive Vibes. Prior to that it had been Berits Halsband that reawakened me. If you saw this CD in the store, you’d pass right over it. The artwork and lettering look like a new age album on the Narada label. It’s dedicated to Greenpeace and half the songs are about whales. It’s subtitled Malinuuga Music, which according to the liner notes is the indigenous rhythm of Europe, unrelated to African and Native American percussion. Yea, well whoopdee doo.

Well boys and girls, the reality is this: Had I sent you a tape and stated "Adamah: Unreleased Ohr album from 1972", you would have had ZERO problem believing me. This is the most authentic slice of Krautrock I’ve heard post 1980. In spirit, sound and intensity. Adamah is not some new age wuss who misses his mommy, but rather a nine piece group that features all sorts of analog synthesizers, flute, clarinet, violin, steel guitar, electric guitar, sitar, various homemade stringed instruments, female vocals and no less than 3 full time percussionists. The production sounds as if Dieter Dirks did a number on it, with loads of phasing and other studio trickery. There is wah-wah, fuzz and all sorts of wild moments found throughout. There’s even the female narration in German ala Ash Ra Tempel's Join Inn. And there’s not even a HINT this is done for a retro market or that it’s the 1990s. This is truly organic, time has completely stood still. And if you are paying close attention, yes, this is THE John L. of Ash Ra Tempel's Schwingungen fame! Here he’s dressed in full-blown traditional Jewish attire, complete with flat brimmed hat, long beard and side curls. And he’s holding one of those aforementioned homemade electric stringed instruments with the Star of David on it. And he sounds pretty much the same as he did on the ART album, with chanting, yelling, semi-singing. Most of the album is instrumental, so his vocals are once again a curious, but fascinating, addition. With a 24 year separation between albums, and both masterpieces, John L. has proven he's one of the true creative freaks of our era.

Ownership: 1996 Green Tree (CD)

12//04 (review); 9/19/17 (update)

 

Starring Rosi (1973)

---2/9/01

Starring Rosi is Ash Ra Tempel's 5th album, and a departure from the intensity of the previous three studio albums, as well as the drugged out live Seven Up outing. Gottsching recruited Dieter Dierks (Scorpions, a million others) not only for his usual superb production ability, but also for bass guitar duty. As well, Kosmische Kourier / Wallenstein standby drummer Harald Grosskopf makes his presence felt (and would later join Manuel in his Ashra trio format of the late 70s and early 80s). As stated in the premise, the album's contents are completely different from the emotional workouts of their previous studio offerings. The mood is light and carefree. And it appears as if Manuel and Rosi are just having a fun date here (she does glow radiantly on the album cover, one must admit). The guitar style shown on the latter half of Join Inn's 'Freak N' Roll' makes its presence on 'Interplay of Forces' and 'Laughter Loving'. 'Schizo' recalls the intensity of the earlier albums, but is sadly all too short. Through it all we have Rosi's lovely spoken voice (in English verse the German of Join Inn) and a bit of ill-advised singing from Manuel (something he fortunately gave up quickly). Overall a very pleasant and unique album. If the proper expectations are set, you will likely be rewarded here.

Ownership: 

1973 Kosmische Musik (LP). Acquired in 2000.

2010 Belle Antique (CD). Papersleeve. Acquired in 2011.

First copy: 1983 Pop Import (LP). Acquired in 1985.

1985; 2/9/01 (review); 12/29/11; 3/8/15 (update)

Seven Up (1973)

---2/9/01

During this period, Ash Ra Tempel were contributors to a kind of cosmic circus, touring around with others of a similar mindset concerning philosophical thought, lifestyles, and music. Seven Up, is the recorded document of this time while in Switzerland. The fame the album has achieved is due in part to two elements: (1) The involvement of drug culture icon Timothy Leary, and (2) the dropping of acid into the band members' 7-Up. While that might sound radical up front, Seven Up is quite tame compared to the first two masterpieces. The first side long montage is a medley of electronics and drugged reworks of pop hits from the 50's and 60's. Unique? Yes. Satisfying? Perhaps not. Side two is a rework of the spacey 'Suche and Liebe' from Schwingungen. This version, called 'Time' and which contains a slightly different opening, is quite good - but not overly moving - and you get the impression the band's ready for bed after partaking in too much alternative nutrition. A much better version of Seven Up can be found in the outtakes and studio reworks found on Gilles Zeitschiff's Sternenmadchen album.

Ownership:

1973 Kosmische Musik (LP). Gatefold. Acquired in 1997. Comes with a small detailed insert. Die Kosmischen Kuriere was the original name for what became known as Kosmische Musik - and this is the debut album for the imprint. 

2010 Belle Antique / MG.ART (CD). Papersleeve gatefold. Acquired in 2011.

First copy: 1983 Pop Import (LP). They used the alternate cover as found on the Italian PDU release. Acquired in 1985.

1985; 1995; 1997; 2/9/01 (review); 12/17/11; 3/7/15 (update)

Correlations (1979)

In 1979, Manuel Göttsching once again changed directions for his alter ego Ashra project. Reuniting with former colleagues Lutz Ulbricht (guitar and synthesizers), and Harald Grosskopf (drums and synthesizers), Ashra presented their unique variation of the power trio. Correlations was the first of two releases by the lineup. Once again the mood is light, with bouncy almost funky / disco styled rhythms, heavy use of sequencers, and of course, Manuel's spirited but rambling guitar. And yes it does get psychedelic at times. No doubt Ashra caught the breezy tropical fusion bug that had invaded Germany at this time. One of optimism and good times, if not a bit misguided. An album that has aged incredibly well for me, though I had reservations initially when I first bought the LP. 

Ownership: 

1979 Virgin UK (LP). Acquired in 1985.

2008 MG.ART (5xCD). Box set with booklet. Includes four other albums taken from the same sessions. Acquired in 2026.

1985; 1//04; 2010; 2/7/15 (review); 5/23/18

Blackouts (1978)

---2/9/01

On Blackouts, Manuel Gottsching returned to the guitar once more to release his masterwork of the Virgin era. His blend of soulful electric guitar with whooshing synthesizers and sequencers has never been matched to this day. The set of tracks 'Midnight on Mars', 'Don't Trust the Kids', and 'Blackouts' is simply astounding, and Manuel's guitar playing here is hotter than anywhere since the early Ash Ra Tempel days. The title track is absolutely on fire by the end of the piece. 'Shuttle Cock' possesses the sound on sound guitar of Inventions For Electric Guitar.

---1/22/15

The original LP states that Gottsching plays "Sequencer, Keyboards, and a lot of guitar" and he thanks Udo Arndt for the "lonely guitar sound". As well as "This record should be heard comfortably". I cannot for the life of me understand the criticism this album gets. I've had this on LP for over 30 years, and there is an amazing vibe here that I never tire of. I've spent many hours closing my eyes and listening intently to it visualizing the imaginary movie it projects. A brilliant masterwork for my tastes.

Ownership: 

1978 Virgin Netherlands (LP). Single sleeve. Acquired in 1985. 

2008 Arcangelo (CD). Papersleeve. Has Manuel Gottsching's name on it instead of Ashra. Acquired in 2018.

1985; 2/9/01 (Gnosis); 1/22/15 (update); 6/17/18

The Private Tapes Vol. 3 (1971-1974 / 1996)

---7/28/96

There are three Gottsching solo guitar tracks from 1973. These were all in preparation for the Starring Rosi album and predate the concept he'd use eventually on Inventions for Electric Guitar.

There's one lengthy 27 minute track from 1974 with Lutz Ulbrich from Agitation Free and later a member of the Ashra trio with drummer Harald Grosskopf. It's a long spacey track focused on keyboards, but with some fine guitar work as well. Relates closest to Le Berceau Du Cristal, another archival release from Manuel Gottsching.

The final track is a 32 minute freakout jam from 1971 along the lines of the debut album ('Le Bruit des Origines').

---3/1/10

This is one of the legendary six volumes that Manikin unleashed on the public in 1996. They came out in the late spring while I was backpacking through Spain in 1996. When I arrived home, I was told about it. The retail price was $100, and I was a bit short on cash from my trip. I went ahead and got them anyway, at the encouragement of some friends, who all knew I was a big fan of the band. Thank goodness, as this set is known to go for ten times the price I paid. Manikin reissued a 2xCD compilation, but for some reason these 6 CDs remain without another reissue.

Ownership: 1996 Manikin (CD). Acquired in 1996.

7/28/96 (review); 3/1/10 (update)

 

Le Berceau de Cristal (1975 / 1994)

1975's Le Berceau de Cristal (not released until 1994) is a soundtrack to a French film, which displays the logical development between the Ash Ra Tempel and Ashra albums. Manuel Gottsching lined up with friend, and former Agitation Free guitarist, Lutz Ulbricht to continue his exploration of cyclical guitar sounds and electronics. It's truly a successor to Inventions for Electric Guitar, with sound on sound electric guitar at its core. This coupled with some sequencers, Farfisa, and other synthesizers added on top. Wonderful late night listening that has that cosmic Berlin School sound.

Ownership: 1994 Spalax (CD). Brief liner notes in French with a vintage photo. Acquired in 1996.

1996; 1/16/10 (review); 12/30/21

Inventions For Electric Guitar (1974)

---2/9/01

Here's where Manuel Göttsching began his solo career, though he maintained the Ash Ra Tempel moniker for one more album. Inventions for Electric Guitar was a revolutionary album for the day and is still forward-looking over 35 years later. Creating a sound-on-sound electronic vibe using only guitars and tape loops, Manuel weaves a wonderful tapestry of music that is at once intense and yet beautiful. He adds color with vicious solos while the guitar loops are bouncing in the background. Yet another brilliant work - and something entirely different for his past works.

---1/10/10

It's been said this is the first electronic album performed entirely on electric guitar. And while Achim Reichel employed a similar tactic, his albums were group efforts. Gunther Schickert, another follower of this technique, also first released his landmark Samtvogel in 1974.

Ownership:

1974 Kosmische Musik (LP). Acquired in 2020. 

CD: 2004 Arcangelo (Japan). Papersleeve edition as part of a box set that includes Ash Ra Tempel's first 2 albums.

First copy: 1983 Pop Import (LP). Acquired in 1985.

1985; 1995; 2/9/01 (review); 4//05; 1/10/10 (update)

Ash Ra Tempel (1971)

---2/9/01

Germany. 1971. Underground. Those three terms evoke images of the Berlin Wall, intensity, angst, freedom.

Very rarely is a moment so well captured just through music. Yet this is just what happened on Ash Ra Tempel's self-titled debut. The opening piece 'Amboss' (Anvil), is one for the ages. Starting with dark sounds that seem like shadows, created only with primitive electronics and guitar, the piece seems on the verge of falling into a black abyss to never return. Slowly the tension builds to a deafening crescendo, and without warning, Klaus Schulze begins his definitive piledriver drumming pattern. What could be possibly more intense and more chaotic? The listener is pounded into submission. Only to be equally mutilated by Göttsching's furious jamming, certainly the most intense, psychedelic, heavy guitar ever recorded. After a few minutes of this sort of violent cosmic blues jamming, there is a sequence of free-jazz drumming and electric guitar polka-dots that just burst into another firestorm, and along comes Schulze even more furious than before with Göttsching and Enke trying to subdue the entire German nation with their blistering guitar work. The Berlin Wall must fall! It doesn't - but certainly the musicians must have. One gets exhausted just listening to it! This 19 minute opus is followed by the exquisite 25 minute 'Traummaschine' (Dream Machine). Again, the mood is somber but slowly the sound gets louder. The band manages to achieve an electronic cadence while the guitars and electronics swirl. Hand percussion enters in and Göttsching turns up the fuzz for another biting solo. There is a period of rest and again the rollercoaster begins for yet one more jam. To this day, there has never been an album of music that sustained this kind of intensity for 40 minutes. How they were able to so without a moment of wasted time is a testament to the brilliance of one of the greatest albums of all time.

---1/9/10

This album had been my Holy Grail for about three to four years. I first discovered Ashra / Ash Ra Tempel back in 1985 from a store called The Record Gallery in Dallas when I was midway through college. The odd thing about Ash Ra Tempel, is that all of their albums starting with Seven Up were reissued by Pop Import in the early 1980s. Those are the copies this store had. In Dallas, in 1985, I can assure you no one else did, not even Metamorphosis by then (locals will know what I mean). So with that, finding the first three albums became my determined quest. I found the PDU copy of Join Inn in 1987 as I was wrapping up my degree. And scored Schwingungen in early 1988. And finally, after years of searching, I scored the PDU version of the debut in late 1988. From the late great Jeff Baker. It was $55. Where the hell did I get $55 for a record? I have no idea. But I did and never regretted a second of it. My first listen was an unforgettable experience. Right around Christmas in fact.

Ownership: 

1972 Ohr (LP). 56 label / 556 cover. Comes in an extraordinary fold-out-of-the-middle gimmix cover. Acquired in 2004.

2004 Arcangelo (CD). Papersleeve that replicates the original gimmix cover.. Comes in a box set, that -opens up to three mini-LPs, which also includes Schwingungen and Inventions for Electric Guitar. Acquired in 2004.

First copy: 1976 PDU (LP). Acquired in 1988.

1988; 2/9/01 (review); 1/9/10 (update)

Other albums I own: New Age of Earth; Belle Alliance; Friendship; The Private Tapes Vol. 1-2, 4-6; Correlations discs 2-5.

Albums previously owned: Walkin' The Desert

1/9/10 (new entry)

Getriebe ~ Germany

Syncron (1975)

Here we have about a 17 minute EP, long enough for a one sided LP. Getriebe was lead by Detlev Schmidtchen, future keyboardist for none other than Eloy starting on the Dawn album and ending with Silent Cries and Mighty Echoes (and then left to form the rather lackluster Ego on the Rocks). Ironically, Getriebe will remind listeners of Inside or Floating era Eloy (and the CDRWL's favorite period for Eloy) more so than the streamlined and sophisticated Dawn and beyond albums. In fact, Getriebe sound like many of the organ lead German bands from 1971. The same off-key blues vocals in English, heavy guitars, fat bass and thudding drums. And that one critical component: Hammond organ. The AC informs us: "Detlev Schmidtchen formed this group in 1971 in Hanover, and in 1975 they won some local band competition called "Pop '75". The prize was time in a local recording studio, where they recorded "Syncron" (so it is from '75, and not '72 as I've seen listed elsewhere). Apparently, they also won the chance to have dinner (?!) with Eloy, who were the guest headliners at this competition/festival. This led to Eloy poaching Schmidtchen for themselves, which caused Getriebe to break up on the spot." 

12/25/10 (first listen / review); 12/30/23 (new entry)

Dream Theater - A Change of Seasons. 1995 USA

After Falling into Infinity was released, there was a feeling of dread that Dream Theater were no more prog - or metal for that matter - but they had sold out to commercialism. It appears this EP was the band's reaction to that. "Oh no, we're still really prog and metal, ya know..." Dream Theater have always been a very self-conscious group, for better or worse. I mentioned on my review of Falling into Infinity that I had exited the bandwagon after Awake, but I had forgotten about this album (and Falling into Infinity isn't so bad really). Because I did buy A Change of Seasons real time and thought it was great. But I was really going deep into prog at this point, so it was to be the end of me and Dream Theater for another seven years. 

In hearing this album again for the first time in nine years, I found it better than my last listen. A 23 minute prog metal epic by one of the bulwarks of the business is still going to satisfy my ears all these years later. So I'm back to my original rating. The remainder of the album are cover tunes, all more or less under the guise of "bonus". I'm not usually fond of this idea, but fine, it was only to fill out the disc. And they do a good job at performing their unique interpretation of each.

Ownership: CD: 1995 EastWest. One of the few commodity CDs I plan on keeping.

1995; 6/8/14; 12/29/23 (new entry)

Latte e Miele ~ Italy

Papillon (1973)

Latte e Miele's second effort is a joyous and optimistic album. As with many Italian based keyboard trios of their era, Emerson, Lake, and Palmer provide the blueprint and influence. However, the culture of Italy takes over in various places, including the language and, yes, the Catholic church. Overall, Papillon is a rich, beautiful album. This isn't one for those who like a walk on the dark side. In hearing Papillon for the first time in ages, it's apparent to me that this should be mandatory listening during Christmas, as that's the season the music brings out. It's milk and honey at Grandma's house, after arriving there on a one horse open sleigh. Don't forget to bring a few bottles of red though...

Ownership: 

1973 Polydor (LP). Textured gatefold with libretto. 

2001 Polydor Japan (CD). Papersleeve. Includes one inessential bonus track that is from a pop single.

1988 (acquired); 2001; 12/28/23 (review)

Other albums I own and need to review: Passio Secundum Mattheum; Aquile e Scoiattoli

12/28/23 (new entry)

Franco Battiato - Sulle Corde di Aries. 1973 Italy

Battiato's third effort is an otherworldly mix of primitive electronic, folk, and world music. There's really no other album quite like it, which makes it that much more interesting. I didn't have a good grasp of this album, and it's been 28 years since I last heard it. But even after this revisit, I would have a hard time articulating the music. It's almost like systems music, yet it's very warm sounding which is contradicting. From an era when exploration of sound had no boundaries.

Ownership: CD: 1992 Artis. Jewel case release. Booklet has liner notes in Italian and photos. Mastered straight from vinyl and obvious too. Mail order acquisition (1996).

I had a chance to grab the original LP in Baltimore with that large buy in 2021. It wasn't cheap and I'd already spent a fortune. And I wasn't sure this was an album I wanted to keep, but that was due to my unfamiliarity with it. Given that the CD sounds like vinyl, I should have forked over for it. Oh well, not the end of the world, but I'll be looking for it now.

1996; 12/28/23 (new entry)

Groovector ~ Finland

Ultramarine (2000)

"I have quite a few albums in the collection that I'm most excited to hear - many of them I anticipate are better than I have them rated. This is yet another album I haven't heard since it first came out. So 22 years later we have our second visit." - Part 2. In fact I think this was in the exact same CD order with the Hamadryad album that makes up the above quote.

I had it in my mind that Groovector were more from the psychedelic school such as Tanger or fellow countrymen Scarlet Thread. But there's almost no guitar on Ultramarine. Rather we hear a highly melodic, all instrumental progressive rock album along the lines of Gotic or Maneige. Flute, Hammond, and piano lead the parade, augmented by a competent rhythm section. Camel must be in this conversation but Groovector have a more consistent approach to their recipe. Ultramarine was a pleasant surprise for the era in which it was released. One more self-fulfilled prophesy of a +1 listen. I really need to hear these albums more frequently.

Groovector went on to release one more studio and one live album. I recall the second album as being very disappointing, as there was no flute and they added vocals. The live album apparently is from their first line-up. I'll check them both out online if and when time warrants.

Ownership: 2000 Mellow (CD). Multi-page booklet.

2001 (acquired); 12/26/23 (review)

Hamadryad ~ Canada ~ Montreal, Quebec

Conservation of Mass (2001)

I have quite a few albums in the collection that I'm most excited to hear - many of them I anticipate are better than I have them rated. This is yet another album I haven't heard since it first came out. So 22 years later we have our second visit. I'm much more familiar with their follow up effort Safe in Conformity. My notes for that state: "Hamadryad's second album primarily swirls around the mid 70s Genesis era of Trick of the Tail. There's the faux mellotron, familiar Collins-esque vocals, and Hackett styled guitar. There's also some muscular early 70s heavy prog in the Uriah Heep sense of the word. And the other diversion is about two-thirds of the way through, where they go all-in Rush but with a bit of prog metal thrown in. It's definitely a shoehorn, but it adds diversity on a continuous listen. Safe in Conformity is the kind of album that grows in stature with time, as it has done with me. A keeper."

On their debut, Hamadryad start with a heavier Rush like sound and move gradually over to Yes, rather than Genesis. It's a busy album with lots of time changes, harmonies, instrumentation, and a myriad of ideas. There's much to absorb here. I listened to it twice in a row, thus tripling my familiarity. Easy +1 listen and my self-prophesy of the album being higher rated than I originally had it was fulfilled.

Ownership: 2001 Unicorn (CD). Booklet filled with lyrics, recording details, and photos. Acquired in 2001.

2001; 12/23/23 (review)

Safe in Conformity (2005)

Hamadryad's second album primarily swirls around the mid 70s Genesis era of Trick of the Tail. There's the faux mellotron, familiar Collins-esque vocals, and Hackett styled guitar. There's also some muscular early 70s heavy prog in the Uriah Heep sense of the word. And the other diversion is about two-thirds of the way through, where they go all-in Rush but with a bit of prog metal thrown in. It's definitely a shoehorn, but it adds diversity on a continuous listen. Safe in Conformity is the kind of album that grows in stature with time, as it has done with me. 

Ownership: 2005 Unicorn (CD). Fold out cover with lyrics. Acquired in 2010.

8/28/10; 10/10/12; 10/29/17; 6/1/20 (review)

6/1/20 (new entry)

2023 Electronic Journal Vol. 1 - Complete

Cluster & Eno. 1978 Sky (1977). I'd never heard this album before, but I've never been a huge Cluster fan beyond a couple of glaring exceptions (especially Cluster II). I didn't get near as much out of this as Eno's collab with Fripp on the No Pussyfooting album. Kind of a drifting ambient album with no obvious highs. Probably would be better on CD, as the vinyl was a bit distracting for me here. I'll check it out again in that medium if the opportunity affords itself. (Dec)

Hemisphere - Inversion. 2000 Groove Unlimited (CD). Collection revisit (Dec). This is the earliest album I've owned from Hemisphere, but this was already their 7th work. Unfortunately one of the duo, Ralf Knappe-Heinbockelt, passed away in 2005 and that was the end of Hemisphere. I kept the album after this (Now) but let go of the next one (Attachment X). I bought this at a time when I was loading up heavily on Berlin School Electronic albums in the mid 2000s. But I don't recall anything about it. Let's see where it takes me. On Inversion, Hemisphere demonstrate a patient, spacious album. The first beats and sequences don't enter in until 3). Darker shades encompass 4). Thorsten Reinhardt's guitar makes its first appearance on 5) but in a subtle manner. The music never really breaks free from there. Overall, Inversion is a moody, oppressive, and somber affair. It's a fine effort, though nothing to distinguish it for shelf space.

Ian Boddy : Markus Reuter : Nigel Mullaney - Triptych. 2001 DiN (CD). Collection revisit (Sep). I think I mentioned before that in 2005 I went a bit crazy on obtaining progressive electronic titles. In some cases I'm glad I did as they are going for small fortunes today (at least in CD terms). This isn't one of the rare ones - but a few on Boddy's imprint are. Nonetheless this is an album I haven't heard since first obtaining it. My scratch off notes from May 2005 say: "I was expecting a more sequencer based affair, but this is an intriguing blend of E-musik sounds. Need more time with it, but a solid effort." So much for giving it more time. Here I am absorbing the album for a second visit. I'm not overly keen on the first two tracks totaling close to 33 minutes. 'Mystertronic' is a sort of electronic jazz fusion mix that doesn't sound very pleasant to my ears. The next 25 minutes are the Triptych triptych lol. These trio of songs are much trippier, and it's easy to get into the groove of 'Second Transmission'. Finale 'Ionosphere' is similar to the Triptych. Gosh if I just didn't already have sooo much music like this already. No nostalgia points either, as it's just one of hundreds buried in the collection that I have little recall of. Going to let it go - hopefully to some buyer who will appreciate it more than I have.

Michael Garrison - Prisms. 1981 Windspell. Bend, Oregon's most famous electronic music. He was there when the town had about 100 people. Haha, not really, but the city has experienced 1,000% growth since he started. Along with Steve Roach and Michael Stearns, Garrison was at the forefront of the American electronic movement of the late 70s / early 80s. This is another album I found for a dollar at the Austin Record Show. Nothing you haven't heard before, with a fine mix of melody and sequencers, all very much from the Tangerine Dream and Klaus Schulze Berlin School, one that Garrison clearly attended. Maybe a bit cutesy at times, it could have benefitted from a darker atmosphere. Despite being a private press on his own label, Garrison must have sold gobs of copy, as supply remains plentiful. Interestingly, cassette tapes of this same album are far more in demand. (Aug)

*Michael Shrieve / Steve Roach - The Leaving Time. 1988 Novus. Picked this one up for a dollar at the Austin Record Show. Anything on vinyl with Steve Roach is worth grabbing, though surprisingly this one doesn't have much monetary value. The sterilized sound from the beginning is a bit off-putting. However it gets more interesting as it goes, and David Torn's guitar is perfect for recordings such as this. Plenty of sequencers as well. Michael Shrieve was on the world tour of joining famous synthesists in the 80s apparently. Holding onto this one. (Aug)

MAL - Compendium Maleficarum. 1981 Physiocrat. This was part of that box of free records I inherited at the last Colorado Springs show (May). There were a couple in there that I'm sure he had no intention of giving away, but lucky me. There were a lot of these privately released oddball dark albums from the 80s that would show up here and there. Especially as the decade lingered on. Today names like Minimal Synth or Minimal Wave are used. And there's an undercurrent of Goth here too. MAL stands for Michael A. Lucas, a musician from San Francisco. He brings no less than 10 guests to join in for this venture. The music is as dark as the cover and track titles suggest (which are similar to black metal bands like Bathory). With narration/semi-singing throughout. Doomy primitive synths are the primary instrumental sounds, though all those guests add much needed color. It's an interesting listen, but not necessarily compelling. I could see a parallel life where I entered into the underground via albums like this versus heavy metal, and being all-in for these kind of sounds. I know a couple of local guys who will flip when I show this to them. Somewhere between Jean-Baptiste Barriere and SPK is where you'll find MAL. Specialists could pinpoint the sound much better than I. But I can't really relate to albums like this. BTW - I had to look up what a physiocrat is: "A member of an 18th-century group of French economists who believed that agriculture was the source of all wealth and that agricultural products should be highly priced." Who knew?

Pete Bardens - Seen One Earth. 1987 Cinema/Capitol. I first bought this when it came out at Sound Warehouse in Dallas... ...along with Exodus' Pleasures of the Flesh. I remember the girl at the counter commenting on what an interesting pair of albums to buy together. I was already that way in 1987, only 22 years old. I didn't like it back then, and it doesn't do much for me now either. It's just too close to smooth jazz and glossy new age music, though I did find myself appreciating this to a +1 level. But it's still 2 points from a keeper. Found this one for $1 on the last day of the Austin show. (May)

* - Keeping for the collection

Sugarloaf ~ USA ~ Denver, Colorado

Spaceship Earth (1971)

Sugarloaf were arguably Denver's most famous 70s rock band. 'Green Eyed Lady' was a blockbuster hit, and it's also an amazingly progressive track for that era of American music history. Their second album came and went without much impact, though it obviously sold well, especially in this region where the album can still be found in thrift shops.

On that topic, I was mulling on whether or not to keep my thrift shop copy that I found a couple of years ago. It wasn't in thrift shop shape, but rather a beautiful NM. But do I really need it since have the first two albums on one CD? The answer is an astounding Yes. And why? I didn't realize the CD leaves off the second song here 'Hot Water', which was a terrible omission. There were others they could have left off, or even better, the unnecessary addition of their 1974 hit 'Don't Call Us, We'll Call You'. 'Hot Water' is a killer proggy hard rock track, so the matter is settled.

Well since I'm here, let's listen to the LP all the way through, which I've never done (just the CD version). A1 is an excellent progressive rock opener. A3 has elements of bar n' roll but is also solid hard rock. A4 starts off in 'Green Eyed Lady' territory but goes for a bluesy rock sound instead. A5 would have been a great choice for the cutting room floor. Country blues. As I've mentioned before, Colorado in the early 70s was nothing like it is today. 50 years ago, Denver was as much a country roughneck town as it was a major metropolis.

B1 once again introduces us to that beautiful organ and clavinet sound of 'Green Eyed Lady'. This is a more sincere attempt at replicating that hit than A4. B2's name isn't very enticing, and I could generously call it Southern Rock. B3 is a throwback to the jangling psych pop era with a cool Beach Boys styled harmony break. B4 is a folk / classical diversion. B5 supposedly was the hit from this album, but it's not familiar to my ears. It's also the longest track, and you begin to wonder why the band didn't just unleash back in the day, since that's what the audience was gravitating too. Ah, there's that jamming organ and guitar I've been waiting for!

How do you even classify an album like this? Those that hate genre tags would love the dilemma. I had it in my psych collection, but no way. Prog? Sort of. Classic rock? Hmmm. Hard rock? I think so - that's the closest. Kind of early-days-post-heavy-psych hard rock. Such an interesting album really.

Ownership: 1971 Liberty (LP). Rough paper gatefold. You usually find these trashed here in town, but this copy survived in beautiful shape. I wonder if the guy on the right later regretted the photo shoot? Acquired in 2021.

First copy: 1997 Collectables (CD). With Sugarloaf (1970). One bonus track. Acquired in 1998. Sold in 2023.

1998; 5/19/15; 12/22/23 (new entry)

Dungen - En är för Mycket och Tusen Aldrig Nog. 2022 Sweden

For their 2016 album Haxan I wrote: "Dungen's CV for over a decade will read as a modern take on the 1971 Silence Records stable mixed with Mikael Ramel's Till Dej. The fact that the band defiantly sings in their native Swedish, and still manages to have a large cult following even here in America is something quite extraordinary."

For the 2015 album Allas Sak I stated: "Dungen continue with their brand of Swedish psychedelic progressive... pop. The latter perhaps a bit more pronounced this time."

In hearing their latest album, the above captures this album as well. At first, though, I thought Dungen might be headed in a folk rock direction, but ultimately they reel themselves back to their Swedish psychedelic pop core. I wasn't really in the market for another Dungen album, but a local record store had it, so why not give it a shot. While this isn't their best work - not even close really - it's still excellent. Which just demonstrates how high up the mountain Dungen can get at times. Hard to know when to stop with this group. They continue to age tremendously well.

Ownership: LP: 2022 Mexican Summer. Single sleeve with colorful inner bag. Acquired from Tiger Records here in town.

12/22/23 (new entry)

Juan Marquez ~ Cuba

Marquez (1972)

Juan Marquez was already 40 when he left his native Cuba, and three years later he released this very interesting album while living in Spain. This is a case of another establishment figure getting hip and releasing a timeless album. Think Jean-Claude Vannier, William Sheller, and Sabicas.

Marquez starts off as a fairly typical Latin jazz classical guitar type album and moves slowly over to jazz funk. By A3 you're probably wondering what the big deal is. Then comes the beautiful A4 and we're off to the races. The money side is the flip and by the end you realize you're sitting on a monster psychedelic fuzz jazz funk album like none other. Marquez is the master of pacing. The music stops, then a groove appears followed by a fuzzy solo of organ, guitar, flute, etc.... Stop - groove - jam. Those who sample beats would have a field day with this album. And it appears that yes, old man Marquez is the one laying down some pretty heavy psychedelic solos.

I had started to hear this album online, but once I did, there was no way this could be left out of the collection. 

No reissues exist as of 3/31/25.

Ownership: 1972 UA Latino (LP)

12/21/23 (acquired / review / new entry)

Realm - Endless War. 1988 USA-Wisconsin

For their second album Suiciety I wrote (snippets of): "From a musical perspective, it's an astounding achievement... A word of caution for the newbie - the vocals are an acquired taste, just like all bands operating in this genre. He's an air raid siren for sure, but I think it fits the music perfectly. As with many albums in this space, the compositions tend to spray all over the place... In conclusion, there is simply no other album like Suiciety."

---

Well except their debut of course ;-) Jim Bartz is at the controls again, but he didn't infuse this album with electronics like on Suiciety. And honestly the production could have used a boost, all lessons the band learned on their sophomore effort. But as far as the music goes, yep, it's an impenetrable mess of riffs and ideas. Albums like this grow with each listen, and I suspect that will happen here. Realm were simply one of the best at this genre. Apparently they reformed a few years ago. Would be nice to hear them try for another effort.

Ownership: LP: 1988 R/C. Single sleeve. Purchased at Joint Custody in Washington D.C. while there on business (2023).

12/20/23 (new entry)

Highway Robbery - For Love or Money. 1972 USA-California

At the end of the last Colorado Springs show three weeks ago, JL says to me "How come nobody bought this Highway Robbery album? It's killer". Umm.. yea, looks like one I missed. So I bought it! I've been working on a North American hard rock list and this title came up, so it was fresh on my mind. 

What JL says is true. His price sticker simply stated "Scorcher Hard Rock". Yep - that. Los Angeles' Highway Robbery is like Florida's Tin House. Plug in and wail. Don't need to make this complicated. Closer 'Promotion Man' will light your stereo in flames. Perhaps the real inspiration for Rush's 'Working Man'. 

RCA definitely made a try for serious hard rock: Boomerang, Granicus, Charlee, Ursa Major, and Highway Robbery, but none seemed to stick. Only their investment in the Scorpions paid off. And they lost them to Mercury eventually too.

I almost missed owning this one. Whew.

Ownership: LP: 1972 RCA. Single sleeve. Acquired as noted above.

12/21/23 (new entry)

The Damnation of Adam Blessing / Glory ~ USA ~ Cleveland, Ohio

Glory (1973)

Post Damnation of Adam Blessing. Here they bring in some of that same era Grand Funk Railroad sound. Good times party rock for the most part. Highlights include the thoughtful A4, the funky B2, and the two proggy closers B3 & B4. The album ends on a high note with a different approach than the rest. A good album that clearly could have been miles better. It was to be Glory's only album. A lost opportunity.

12/21/23 (review)
 

The Damnation of Adam Blessing (1970)

The Damnation of Adam Blessing were one of the powerhouse groups coming out of the Cleveland scene in the late 60s. There were a ton of groups operating in steel country back then, but most didn't get past the 45 single stage. Though unfortunately today, the band is hardly known. Which is really too bad considering the strength of the material found on their debut. Highlights include the first three tracks, 'Strings and Things', and the last three songs. In particular 'Dreams' is stellar. Only the boogie 'You Don't Love Me' and the unnecessary 'Last Train to Clarksville' (Monkees of course) can be avoided.

There aren't a ton of albums going from psychedelic to hard rock, and The Damnation of Adam Blessing is a super example of doing just that.

Ownership: 1970 United Artists (LP) 

8/26/22 (review)

8/26/22 (new entry)

If There's Hell Below… We're All Gonna Go, USA

So I went looking for my review of Function Underground and realized I had a solid group of albums in a roundup (I was really busy at that time last year). So I pulled it out and three others to feature here on UMR.

The impetus for that move was to state that If There's Hell Below… We're All Gonna Go makes a good companion piece to that album. The hype sticker says "Thirteen War-Drenched Acid-Fried Hendrix-Worshipping Blown-Out Free Love-Fueled Black Rock Jams That'll Freak Out Your Parents". Well... that's why they call them hype stickers.

So what do we have here? More super rare 45s compiled conveniently onto one album. The only disappointing aspect is there's no bio booklet to learn more about these bands. I realize that's what makes these compilations hard to do, but they're a heck of a lot more informative. And, honestly, I would have preferred a CD issue - with maybe a few more tracks to add on. But OK, I'll take what I can get. Because there's no way I'll ever get all of these 45s individually (if any...). 

Some of the compilations run into each other. I have different Stone Coal White and Creations Unlimited tracks on the aforementioned Function Underground album. My goodness that Creations Unlimited has to be about the best two sider ever made. The Iron Knowledge track has been featured multiple places, including the Brown Acid series.

I thought this would be more hard rock and heavy psych focused considering that hype sticker, but it's definitely more in the psych soul funk genre. In fact the first track is an easy listening instrumental. But have no fear, it's still a killer set of tunes, with lots of fuzz and booty shaking rhythms. And there are a few proto metal tracks on Side 2 after all.

Ownership: LP: 2023 Now-Again. Single sleeve. Red wax. Recent online acquisition.

12/20/23 (new entry)

Function Underground, USA

The hype sticker alone told me this would be the gem of the stack: "The Black and Brown American Rock Sound 1969-1974". My heart be still. How I love these comps, especially when they come with a booklet jam packed with historical information. I look for 45s such as these everywhere I go, and sometimes you get lucky. No one knows who they are, so they presume they're worthless. Discogs has kind of ruined that in some places, especially when they get compiled like this. Because now everyone wants them! Fortunately thrift shops don't usually bother to research, even some record stores don't! Still relying on their dogeared price guides where everything Elvis and Beatles is rare, along with a handful of garage and soul titles. But unknowns... were unknowns. So they're worthless. Thank you! This album actually starts off a bit conservative with 1984 and Purple Snow, each more towards psych soul than psych rock. But starting with Jimi Macon, things get progressively wilder. Note that first name spelling. All you need to know. The party really gets going with Creations Unlimited and peaks with Michael Liggins and the Super Souls, complete with flute, psych guitar and funky rhythms. Side 2 is no less stellar. Ebony Rhythm Band's 'Drugs Ain't Cool' sounds like Chicago's take on 'I'm a Man' only to be followed by Cisneros and Garza Group covering... 'I'm a Man'. This track also introduces the "brown" part of the album, which sadly only features 3 tracks. Highlight here might be L.A. Carnival, who also happens to have a full length archival album released by Now-Again. Ordered it last night (and it's great, need to get some notes up about it). Overall a brilliant collection if you're interested in the lo-fi, but heavily sincere, funk psych bands that only appeared on 45s.

Ownership: LP: 2017 Now-Again. Single sleeve with 16 page booklet. Purchased new (heavily discounted) at Independent Records here in Colorado Springs (2022). That store is now closed.

3/19/22 (LP 3.8); 12/20/23 (new entry)

Thirsty Moon - Blitz. 1976 Germany

After all these years, I'd never heard Thirsty Moon's 3rd album, despite being a huge fan of the two prior, especially the debut. I had expected a typical mid 70s fusion, of which I've warmed up to greatly in the last 20 years. But one title that didn't do much for me was their 4th album A Real Good Time, which has become somewhat collectable in recent times. Blitz not so much, so I figured not to spend much effort to find. That was my mistake. Information about this album tends to be scarce, but essentially it's an all instrumental rock album. Unusual in its simplicity for style, though musically it most certainly belongs to progressive rock. This is not the Krautrock style of its predecessor's nor is it fusion or symphonic either. More American or British sounding than German, and somewhat unique overall. I quite like it.

Ownership: LP: 1976 Brain. Single sleeve. Green label. Online acquisition (2022).

3/19/22 (LP 3.8); 12/20/23 (new entry)

Faithful Breath - Back on My Hill. 1980 Germany

Faithful Breath's reputation begins and ends with their debut. At least in the prog world. I've come to appreciate that album after all these years, but I didn't like it for the longest time. Because of this, I never made any effort to track down their second album. I well should have. This wasn't only a pleasant surprise, it surpassed my highest expectation. Side 1, generally derided as nothing more than basic hard rock, sounded excellent to me. More like prog hard rock. Which leaves us to the side long track, which is as proggy as anything else released in the 70s. Loaded with mellotron and wonderful symphonic music. I had to hear this side 3 times in a row. I don't do that much these days. Don't skip this title if you had similar concerns like me.

Ownership: LP: 1980 Sky. Single sleeve. Online acquisition (2022).

3/19/22 (LP 3.8); 12/20/23 (new entry)

Alpha Ralpha ~ France

Alpha Ralpha (1977)

---4/29/15

Alpha Ralpha's sole album is a wonderful, and perhaps pure, example of instrumental symphonic progressive rock. Given the name and cover, there's also an underlying space rock tone. The music has a warmth that was typical of the late 70s French scene, and a sound I find very appealing as I get older. In fact, it's that same type of familiarity you'll hear in newer bands such as Spain's Herba d'Hameli.

Ownership: 1977 Warner Bros. (LP) 

No reissues exist as of 3/31/25.

4/29/15 (review); 3/19/22; 12/20/23 (update / new entry)

Suzanne Ciani - The Velocity of Love. 1986 USA-Massachusetts

Here's a surprising pickup for me. I found this perfect copy in shrink the last time I was in Pueblo for a dollar. I noted to myself that while these used to be ubiquitous in the record shops, I can't recall seeing one recently. Sure enough, it does have a little value now. I never took the time to hear what she had to offer back then, so let's go for it.

Boston based Suzanne Ciani definitely taps into the moods and sounds of 1986. You might recall my super rich buddy (Al Di Meola review) and his incredible stereo. This would have been the kind of album he would have owned to show that off. Musically it borders progressive electronic and new age, and has a very feminine sweet sound. I can't say I own too much music like The Velocity of Love and it does transport me to a time and place. Those are the type of albums I keep. If looking for comparisons, I'd suggest Vangelis was in this sound area around the same time. I think it's telling that the album was issued on RCA's Red Seal label, which is solely dedicated to classical music. That was the perceived audience for the time.

In reviewing Suzanne Ciani's biography, she was already 40 when this was released (she looks much younger on the back cover), and she's still making music today at age 77. Early photos demonstrate a young lady fascinated with electronics, and it's too bad there aren't any recordings of her music from the 70s (there's something from 1970, not sure what that's about). I can imagine they'd be more Klaus Schulze like than the more refined work of The Velocity of Love. I'm definitely interested now in her 1982 debut.

Ownership: LP: 1986 RCA Red Seal. Single sleeve. Acquired as noted above. 

12/18/23 (new entry)